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Sound On Sound
Est. 1985
Paul White
amp repairs Oxfordshire
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Theory + Technical

CUSTOM CLASS  Theory + Technical  March 1996
Spicing Up Your Synth Sounds
Most synths now boast an infinite variety of sounds, but what the manuals don't tell you is that you need an infinite amount of time to explore them properly. Paul White suggests some short cuts to synth heaven.

WIRE DRILL  Theory + Technical  August 1999
All About Studio Power & Wiring
Poor studio wiring can lead to hums and buzzes, but you can avoid the worst of these problems by following a few simple rules. Paul White and Hugh Robjohns explain all.

BATTERY FARMING  Theory + Technical  May 1999
Avoiding Equipment Battery Failure
It seems everybody is talking about the millennium bug, but a far greater threat to the operation of our studios is already ticking away inside our effects units and synthesizers. Paul White gives a battery health warning.

BAY WATCH!  Theory + Technical  March 1998
All About Patchbays
Paul White follows up a few leads and discovers they all end at the patchbay.

BEYOND THE BOUNDARY  Theory + Technical  December 1995
All About The Boundary Effect
Accurate monitoring is a must in the recording studio, but the perceived level of bass depends on where you are standing and where the speakers are positioned. Paul White explains why in audio, a boundary literally means a six.

MICS: THE MECHANICS  Theory + Technical  April 1998
Mics: The Mechanics; Mic Types & Characteristics
The type of mic you choose for a give task can have a profound effect on the quality of the resulting recording. Paul White sorts out the dynamics from the capacitors.

CAPACITOR MICROPHONES EXPLAINED  Theory + Technical  February 1998
Capacitor Microphones Explained
Paul White looks at the workings of capacitor mics and discusses their advantages for studio recording.

Choosing A Microphone: Microphone types and uses
Every studio needs at least one mic, but which type and which model is best? Paul White provides some guidance.

DBS EXPLAINED  Theory + Technical  February 1994
Decibels Explained
Equipment specs quote them, meters read them and operating levels conform to them - but what is a decibel and where did it come from? Paul White explains.

EVERYTHING TO GAIN  Theory + Technical  October 1995
All About Gain Structure
Do your recordings sound like they've been made through a white noise generator? Well, don't just blame the vintage synth or battered effects unit - it could be your gain structure that's at fault. Paul White offers some tips on getting it right...

GROUND CONTROL OF MAJOR HUM  Theory + Technical  August 1994
Ground Loops explained
Few things can be more frustrating than having a recording system plagued by hum. Paul White explains the causes of hum-inducing ground loops, and offers practical advice on how to avoid them.

INSIDE HEADPHONES  Theory + Technical  March 1994
Open or Closed Headphones?
Paul White looks at the differences between open and closed headphones and explains why neither type is a substitute for a loudspeaker monitoring system.

LET ME BE DIRECT  Theory + Technical  April 1998
DI Boxes & Why We Need Them
Paul White explores the role of both passive and active DI boxes in recording applications.

LOCK AROUND THE CLOCK  Theory + Technical  June 1996
SMPTE And MIDI Time Code
Paul White takes a closer look at SMPTE and MIDI Time Code, and their role in Tape-to MIDI sync.

MIDI BASICS: Part 1  Theory + Technical  August 1995
MIDI Basics: Part 1
Paul White kicks off a new series for newcomers to MIDI.

MIDI BASICS: Part 2  Theory + Technical  September 1995
MIDI Basics: Part 2
Paul White's absolute beginners' guide to MIDI continues. This month, he explains the concept of MIDI sequencing.

MIDI BASICS: Part 3  Theory + Technical  October 1995
MIDI Basics: Part 3
What are MIDI messages and what do they do? Paul White explains.

MIDI BASICS: Part 4  Theory + Technical  November 1995
MIDI Basics: Part 4
Most contemporary sequencers include facilities that make it possible to automate all the key aspects of a MIDI mix, but all too often they remain unused. Paul White explains how to dip your toe in the water without falling in...

MIDI BASICS: Part 5  Theory + Technical  December 1995
MIDI Basics: Part 5
Paul White looks at the benefits of using a multi-port MIDI interface.

MULTITIMBRALITY BASICS  Theory + Technical  February 1994
Multitimbrality Basics
Although much more widely used than ever before, the ability of electronic instruments to produce numerous different sounds at the same time is still not always fully understood. Paul White explains the underlying concept of multitimbrality.

OHM SWEET OHM  Theory + Technical  October 1994
The Importance of Impedance
Open just about any equipment manual and you'll come across terms like input impedance, output impedance, impedance matching and so on - but what do they all mean, and does it matter anyway? That Paul White chappy - damn his impedance - explains.

SOFT STUDIOS: Part 1  Theory + Technical  August 2000
Setting Up A Desktop Studio: Part 1
In the first part of a new series, Paul White looks at the business of setting up a desktop computer-based studio. The first stage of planning is to determine exactly what you want your system to be capable of.

SOFT STUDIOS: Part 2  Theory + Technical  September 2000
Setting Up A Desktop Studio: Part 2
Continuing his series on setting up a recording environment based around a Mac or PC computer, Paul White goes through the hardware and software options for recording audio alongside your MIDI tracks.

SOFT STUDIOS: Part 3  Theory + Technical  October 2000
Setting Up A Desktop Studio: Part 3
Paul White concludes this short series by considering a more sophisticated desktop studio incorprating an external digital mixer.

SYNCHRONISATION EXPLAINED  Theory + Technical  July 1994
Synchronisation Explained
For the benefit of those adding a MIDI sequencer to their multitrack tape facilities, Paul White explains the various synchronisation options.

TAPING THE HISS!  Theory + Technical  January 1996
Tape Noise Reduction Explained
Noise reduction comes in various guises, with Dolby alone offering five different systems. Paul White explains the difference between Dolby, dbx and a bag on your head...

THE NOISE OF ART  Theory + Technical  May 1995
Noise and how to avoid it
Paul White explains exactly what noise is and offers hints on keeping it to a minimum in your recordings.

THE RED LIGHT ZONE  Theory + Technical  May 1996
The Mysteries of Metering
All mechanical meters are VU meters, all bargraph meters read peak levels - and both types will give the same reading if you feed in a test tone. Reasonable enough assumptions, but wrong on all counts, as Paul White explains.

WHO NEEDS MIXERS?  Theory + Technical  March 2001
The Pros & Cons Of Software & Hardware Mixers
More than ever before, it's possible to reproduce the functions of a hardware mixer with software in a computer. But can you completely replace a mixer with software - and, more to the point, should you be trying to? Paul White plays devil's advocate...